Archive for the ‘Publicity’ Category

PR and Hip-Hop Go Together Like PB&J

April 15th, 2010

Public Relations is a component that is applicable to a wide range of businesses, or any other entity that requires media or public exposure in some way. However, some PR tactics are so well executed, that many outside of the ‘out-group’ may follow suit with exactly what PR practitioners had in mind when producing their respected campaigns. By now I suppose you’re wondering exactly what campaigns I’m alluding to. Well look no further than the hip-hop industry, and the way the artists are packaged for mass consumption. It doesn’t take a genius to realize that a majority of rappers’ personas are exaggerated, depicting wild lifestyles riddled with fame, fortune, violence, and drugs. When in retrospect, these tales of taboo are really utilized as marketing tools, capturing the attention of a worldwide audience.

Now the relationship between PR and rappers is undeniable, money hungry record executives understand the correlation between selling records and ‘street cred’. Thus publicizing their artists’ wild lifestyles and constructing an image or brand. Executives keep trying these tactics, and mix and match attributes until they find the winning formula. By choosing to exploit certain events in their artists’ past, while steering attention away from other events, they consciously build an image that could translate into record sales.  Don’t believe me? Well here is a breakdown of some of the personas hip-hop has to offer:

1.  The Drug Dealer: this category of rappers is the one I find most amusing. While certain rappers such as Jay-Z and others admit to participating in the selling of illegal substances in their past, some rappers insist on talking about drug trafficking as a current stream for income. Atlanta rapper, Young Jeezy, has made a career through telling audiences tales of his ‘dark past’, and even became a Grammy Award winning artist. A large group of rappers find themselves in this category, since selling drugs has been a winning formula in hip-hop since the industry first hit the mainstream, executives know that utilizing this image will create a buzz, and give their client credibility.

2.   The Pimp: from Slick Rick to Too Short, audiences around the world now know that “pimping ain’t easy”. Misogyny and rap go together like peanut butter and jelly, so it wasn’t really a surprise that executives began using pimps as a part of their formula to success. The rappers in this category boast about sexual escapades, and the control they have over certain women, appealing to hip-hop’s prime demographic of young adult and teenage males.

3.  Living the Life: if one were to view the music videos of these rappers, one would conclude that they are pretty wealthy. From “making it rain” in the club, to flying on private G4s, these videos depict the artists as all living flashy lifestyles; lifestyles that the average joe could only dream of. But are the depictions accurate? Not entirely, an elite group of artists enjoy the finer things in life, while others are caught up in record deals that grant record executives more cash incentives than the artists. Although they are still making good money, the idea that these individuals live such flashy lives is exaggerated and in some cases a facade. However the image they are constructing is a winning formula and circles back to the idea that the ‘average joe’ couldn’t even imagine these riches, while playing off our innate desire to acquire wealth as both Western capitalists and human-beings.

4.  Thugs and Gangs: through establishing artists as gangsters leads to automatic street credibility, and is by far the most popular formula used by artists and executives. Before Shady Records/Aftermath released 50 Cent’s debut album, “Get Rich or Die Trying”, every hip-hop fan worldwide knew that the NY native had been shot 9 times prior to his rise in popularity. Do you think that information was leaked to the public by accident? No way! Before LA native, The Game, exploded onto the mainstream scene, fans were aware of his affiliation with Los Angeles gangs and his own personal misfortunes as a result of violence. Both of these artists are prime examples of building an artists image via violence and gang activity and both have enjoyed great levels of success as a result.    50 Cent has gone platinum multiple times on multiple albums, and is estimated to be worth $500-700 million according to a Forbes article.

5.  Conflict: People love conflict and drama, which is why this is an obvious formula for marketing purposes. Which is why when two high profile artists settle their differences on their albums, it leads to more sales. From Tupac and Biggie, to East side vs West side, executives sat back and watched their artist albums fly off the shelves and didn’t have to spend money on promotion since the conflict was doing the work for them.

Each formula reflects a certain aspect of living in an urban environment, which legitimizes the artists’ participation in an art form that was born in that very same urban environment. PR and branding play an essential role to rappers for these very reasons, and allows audiences who may not be exposed to such environments get a glimpse into the lives of those that have. Hence the importance of going beyond the music, and utilizing PR tactics to establish a certain image that’s desirable to the masses.

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Channeling Idol’s Season 9 for Business Tips? Ish don’t think so….

April 6th, 2010

Recently I read an article that was sent to me via a business wire about how to improve your business by taking tips from American Idol, and well…

Let’s start from the beginning shall we?  The author initially states that after taking a few years off, he returns to realize why AI still reins as America’s number 1 show.  While the show may still be #1, the current season actually boasts the least amount of viewers in the show’s nine-year history.  Now if we are talking business models here…aren’t companies supposed to grow and in turn, increase profits?  How is losing viewers any indication of a thriving business?  Right here in the author’s first paragraph his entire argument is made into a moot point…AI’s failing business model actually has NOTHING to teach “we entrepreneurs”.  Now, don’t get me wrong, I am not an entrepreneur in the slightest, but I do consider myself a bit of a television connoisseur and a competent and well-reasoned individual, and in my first season of Idol viewing, I have to say I am a little underwhelmed. If it weren’t for my DVR I really don’t think I could get through the first half of even the first hour of the show.

Anyway…moving on…He goes on to express how “fun to watch” “entertaining” and “well done” the show is…Well, my apologies sir, but I have to strongly disagree with you and here is why:

Let’s get to crux of this argument shall we? Our author “Steve” begs entrepreneurs to consider the following:

“Deliver on your promise: American Idol knows what its job is. The promise of the show is this: Give us an hour and we will entertain you.”

Well Steve, I hate to break it you to but we have to give American Idol TWO hours to entertain us, and I would say that, placing all the meaningless jabberwocky aside, those two hours are filled with probably 20 minutes of solid entertainment.  Honestly, it takes 12 people 2+ hours to sing songs that are cut to less than a minute long.  My advice would be to deliver on your promise, but please don’t waste my time.

Also important to note…if we are considering a television show a business, and the show’s product the entertainment it promises…what television show doesn’t have the promise of entertainment?  If we are looking for a good example of a show that delivers on its promise…what about LOST?  I can barely answer a text message during that hour-long show without missing some unforeseen death or time warp…and even after the show has ended, I felt like it was merely 5 minutes ago that I tuned in…

Tweak – around the edges. By… bringing in a fourth judge seemed to be a change for the better.

Again, tweaking around the edges may work for small businesses- but in the case of Idol; I’d have to say that brining on Ellen was probably more of a mistake than a “nice change.”  If you are going to tweak around the edges, make sure the tweaks are actually benefitting your company.  Ellen’s contributions to the judge’s commentary rarely hold any merit and they have cut her time for commentary practically in half.

And to drive the point home that nearly every ”teaching point” in this article need not be made…what facet of life doesn’t benefit from a little tweaking?  Why was Botox invented?  Why do we have amendments to the constitution?  Why does McDonalds come out with a new menu item nearly every week?

Don’t mess with success: American Idol…has found a formula that works and they are riding it as far and as long as they can.

This statement holds true- they have found a formula.  But isn’t this “formula” just an overly produced and heavily sponsored version of Star Search?  Aside from Simon’s quick quips- all AI has done has capitalized on the American Dream and exploited those brave enough to do so.

Get rid of the deadwood: Not only did bringing in Ellen for Paula liven up the show.

I don’t know about you, but I miss Paula- in all her crazy glory.  Don’t get me wrong, I love Ellen but her knowledge on music is limited to say the least.  Her commentary, albeit humorous (in true Ellen fashion) falls short of true constructive criticism, and sometimes I cringe while watching, picking up on the fact that even Ellen knows she’s a little out of place. As far as “getting rid of the deadwood” make sure you don’t replace deadwood for additional deadwood, which may in fact be dead-er.

Have good partners: For these partners, the co-branding opportunity is amazing, and for the show, the co-branding opportunity is amazing. Everyone wins and everyone gains.

Yes, American Idol has great sponsors.  Sponsors so great that sometimes I think I’m watching an actual Coca-Cola commercial, and not a singing contest.  During contestant interviews I can barely even make-out Seacrest’s small frame amidst the interchanging of bright red and white Coke bottles with logos flashing everywhere.  It is important to have good sponsors and good partners but you don’t want to reach a point where these sponsors or partners can potentially override your core message.  American Idol has been repeatedly criticized for being too sponsor heavy, and sometimes it can take away from the things that actually make the show great: talented artists competing for their dreams, and of course our beloved Simon.

I do understand where our writer is coming from.  American Idol is a television machine that has proved itself with outstanding ratings and an unbelievable following. However, with Simon Cowell’s impending departure, and ratings being the worst they have been in the show’s history- as far as generating tips for entrepreneurs goes, it is in my humble opinion to perhaps- look elsewhere.

-Arielle

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Tough Sell

March 23rd, 2010

01-17-10

Dear Max,

Have you heard about Canner Collection?  It’s the hottest and latest from that beacon of spontaneity and glamour, Wood Cuts Galore.  Never heard of them?  Well that’s why I’m here to tell you!

Wood Cuts Galore are Upper Sandusky, Ohio’s best woodcutters.  Not only are they world-renowned and bought by celebrities like the Amos Brothers, Jack2Off, and Ronan Reynolds (not to mention a “wow!” from Merritt Butrick, famous for his portrayal as Dr. David Marcus in Star Trek: The Wrath of Khan), but also their quality is Park Avenue; well, definitely Coney Island for sure industry insiders tell me, which I hear is the new Hamptons.

I’d love to have you speak to Wood Cuts Galore for an exclusive on their new collection.  When I Google you, your Facebook page tells me you’re in Hong Kong.  But I figured since you write for the New York Times, surely you must know Arthur Sulzberger, and maybe you could tell him about this, and he can put you on the assignment.  I’d imagine it would be better than covering corporate financing in Asia.  Sounds boring to me!  I know Tom and Bridget at Wood Cuts would only want something full page, preferably front page, though they may be open to below the fold (and this is only if Barack Obama is not on the same page.  They’re not fans of his policies.)

Thanks, Max.  It’s been a pleasure.  Call me whenever.  We’ll be in touch.

Very best,

Madison Wilson

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01-18-10

Dear Max,

Hope you’re doing well!  It’s been crazy weather here, but that means people are inside buying things like pieces from the Canner Collection from Wood Cuts Galore.

That’s what brings me back.  Not sure if you gave it much thought.  I assume you’re still sketching out how the interview will sound, or checking with local photographers to come out here for a spread.  But no worries.  Take your time.  Just checking in to see if you need anything more from me.  I was told—and this could be a great hook—that Bridget may be expecting….twins!  It’s quite interesting since, off the record—I hear Tom and Bridget aren’t getting along great these days.  Maybe readers would like to have a guess about the children’s father?  Could be a terrific Part II story, def for the NY Times Magazine for sure. Annie Leibovitz could shoot it (like that great Demi Moore photo where she was naked and holding her stomach).  Anyhow I’ll leave those small details to you since you’re the creative one.

Call me, Max!

M.W.

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01-19-10

Hi Max,

So haven’t heard from you yet.  I called your desk and it just keeps ringing.  Perhaps you’re on vacation?  Not a problem, simply dropping by to say my respects.

Also, if you need more time, that’s totally fine.  I know Tom and Bridget are just fine waiting another couple weeks before we may have to go to your competitor The Morning Husk here in Sandusky.  No pressure.

Chat soon,

M.W.

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01-20-10

Max,

I don’t really know why you wouldn’t be interested in this story.  It’s refreshing, fun, and American.  As I said, it’s perfect for a guy like you who needs a break from China (or is it Korea you’re covering?  I don’t remember.  Same thing, really), and rest his heels on a great human rights story like Wood Cutters Galore.  They’re bound to be big, and I’d hate for you to miss this chance.  I doubt your boss would be happy about that!

My cell’s always on for you.

M.W.

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01-21-10

Max,

Sorry to say we’ve decided to take our exclusive elsewhere.  This pains me a lot because I figured it was win-win for us all.  I didn’t see any journalism awards on your mantle, so in a sense, I was setting you up beautifully for it.  Some journalists need to take a break from their daily grind and write something new.  I bet Bob Woodward only covered D.C. nightlife and then blam-o, he’s on Watergate, and getting Oscars.  But that’s OK.  I understand….

Until then, Max.  I admit it’s been only one-sided, this fun, and for that I’m taking you off my mailing list.

M.W.

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Thinking Your Story Actually Matters

March 9th, 2010

It is a classic dilemma – your client thinks they have a brilliant story idea, and accordingly, you apply the process of developing that angle (frequently self aggrandizing) only to learn that the news cares little about it.

The client is pissed, and you wonder what went wrong.

This happens in our business more often than we’d care to recall, but it is precisely this lesson that calls attention to, what should be, the role of a public relations professional.

1). Be in touch with the news cycle. Unless this is a stand alone product/service/mascara, every story must have some timely connection with the news cycle. This means that prior to applying long hours of development to your clients whims, you need to address how those can possibly fit in with the news’ agenda. It’s critical.

2). Pushing back on your client is not necessarily a bad thing. It’s your job, at times. They need to understand that selling widgets is incredibly interesting to them, and probably the people who buy their product, but self promotion (no matter how clever) is a difficult thing to describe, while any scent of it is odious to journalists.

3). Go the extra mile in addressing editors. This primarily means finding the right one. Do the research, read their columns, and by all means, make sure your pitch fits in with what they’re interested in. Be creative in adapting your story, and then, once you have their interest, the gift lies in reintroducing those client messages you originally intended to promote.

As PR professionals, it is our unique duty to broker content between our clients and the media. And yes, it is difficult to please both, but the more you can act as an advocate for the editorial community, the more press you will get. And the more press you get, the more you can push back on your client. It’s a nice feeling, actually.

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Surviving Your 15 Minutes: How to thrive in the media spotlight

March 5th, 2010

It’s estimated that about 1 in 4 Americans has been on television in one form or another.  With cable channels multiplying rapidly, reality television’s clear programming dominance, and average households clocking more than 5 hours of television per day, it’s never been easier to get yourself on television.

But are you sure that’s a very good idea?

I like to remind our clients – “You’re used to seeing professionals on TV who look effortless and natural.  Only when an amateur gets in front of the camera do you get an idea of how tough it is to be good television.”

Still, we all want to share ourselves with the world.  And whether this means being interviewed by a local news station, appearing as a contestant on a game show, or hot-tubbing in the next season of “The Real World”, there are a number of simple ways to make the most of your 15 minutes of fame.

A few selected on-air no-no’s, and what you should be doing instead:

DON’T wear white – “On TV you’re always seen before you’re heard”.  Even before they hear anything about you the viewers at home are swiftly deciding if you’re worth listening to, and your appearance has everything to do with it.  This means no white shirts (they wash you out), no crazy patterns (they draw attention away from your face), and for god’s sake comb your hair.

DON’T be a deer in headlights – If you really pay attention to people on television, they very rarely look at the camera.  While a host will address the audience directly by speaking to a camera, all of the guests speak to the host.  Of course having a camera shoved in your face instantly creates an intense desire to look at it, but you must resist that urge at the risk of looking stranded and panicked.  Unless specifically instructed to do to (like on a webconference style CNBC show), just talk to the host and you’ll be fine.

DON’T go in cold – Why do you think every media savvy person, when ambushed with an on camera interview, says “no comment”?  Once a sound byte gets recorded, it’s eternity.  Thus, it behooves you to know what you’d like to say.  Perfectly rehearsed monologues aren’t necessary (and frankly look stale and boring), but do plan out bullet points of things you’d like to talk about.  Stammering into awkward pauses is the easiest way to get the producers to call in the proverbial canes to yank you off screen.

DON’T forget to act – If you’ve got on a nice basic colored shirt and your hair is kempt, the next chance you have to turn off an audience is with your physical demeanor.  Viewers like to watch people who look active, interesting, and engaged.  Sure, you’re nervous, but lean forward, nod, even smile a little.  No need for melodrama, but a happy expressive face is one we all like tuning in to.

DON’T throw up on Fox News – One of my clients was about to be interviewed on a national morning show, whose nerves got the better of him and whose stomach betrayed him just moments before he went live.  I should have been serving the guy wheat grass and OJ, not lighting his cigarette and ordering more lattes.  Not to worry, the interview was a success in spite of gastric pyrotechnics, but wouldn’t you rather skip the drama?  Take care of yourself before an interview, starting with a good night’s sleep and staying fresh with plenty of water and a reasonably fortifying breakfast.

You’ve got a pretty solid shot of landing in front of a television camera (and if that isn’t good enough for you, try surfing casting websites or combing a media sourcing service like HARO).  Keeping just these few tips in mind, you should be well prepared to make the most of your moment in the spotlight.

Of course it helps to actually know what you’re talking about, too.

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Listening, actually.

February 19th, 2010

People rarely “listen.” It’s that elusive quality to which women are more prone to developing, and to which men generally don’t understand. Period.

Both professionally and personally, the benefits of listening (actually) are inestimable. But just as it takes discipline to think about your life, it also takes discipline to remove the blinders that keep you from missing valuable stuff. Listening is not a passive activity.

When I was a much more junior executive, I was preoccupied with being heard during group meetings. This usually meant cataloging (what I thought were) my important points beforehand and then looking for opportunities to be noticed. What I had hoped to portray and what were ultimately communicated were two entirely different things. First of all, the decision makers at the table saw that I was decidedly not one, while other juniors saw me as ambitious (not the good type).

It wasn’t until years later that a mentor taught me the value of listening. The advice was intended to mitigate some of the nervousness and insecurity I felt when pitching to clients or reporters, but it opened the door to an entirely new world about interpersonal communication. Besides the marked improvement in listening to what journalists were actually looking for, I discovered an overall betterment of my professional pursuits. Taking the time to develop this skill brought me closer to my work, knowing my employees, and putting my practice on a sharper trajectory upwards.

And yes, my wife likes me more as well.

I think we are witnessing the overall decay of professionalism, especially in the listening category. Shedding the egotistical shell which enables better listening is never an easy task, but believe me, the suggestion is worth it’s weight.

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Paying For Journalism – The Price of News

February 18th, 2010

So many of us have got all too comfortable with the idea of “free” news. These are our online sources which we continually rely on for meaningful daily doses, but seldom count their costs. As print outlets have been dropping off in record numbers, the idea of a paper’s usefulness is called into question. Websites are eager to generate unique users and happily share their hard-earned journalists with the public, for free.

It’s a fairly naive belief to think that this will last forever, or that it should. Financial Times (acting in accordance with its reputation) is leading the way; charging readers for content and not offering an apology. Bravo. Journalism worth reading is also worth paying for, regardless of what advertisers contribute to the running of a business.

Let’s admit it, we are an entitled public. Relative to other countries, American companies respond with more alacrity to changing consumer demands. Sometimes they do this at their own peril, unable to keep up our bulging appetites. Point being: we should happily pay for good journalism and reporting, just as we pay for other mainstays. Journalism (as the fourth estate), is thankfully not underwritten by our taxes, nor should it ever be. Advertising dollars are fantastic when you can come by them in a troubled economy, but really, the news isn’t owed to us.

This link, however, IS free: The Paper That Doesn’t Want to Be Free.

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DON’T?Confuse Publicity with Marketing

February 10th, 2010

The following is an excerpt from “DON’T: The Essential Guide to Publicity in New York City (and any other city that matters).”

Good news! Your client comes referred by an ad agency with a complete marketing plan that comprises a slick press kit, a series of broadcast spots in the can and a sweeping print strategy. All you have to do is start calling newspapers, get a few TV interviews and maybe whip up a couple of cool events. Your job couldn’t get any easier, right?

Not necessarily.

People who think they understand the value of publicity may treat it as merely another appendage of advertising or marketing. In fact, the two are completely distinct; even with an already-existing marketing or advertising strategy, publicity requires a separate, yet parallel, strategy altogether.

So your client has a renowned agency with a brilliant campaign already in place. So their sales have jumped X-percent since their series of media spots started running in target markets. How does this help you? Well, maybe it gives you a bubblier client to work with, but beyond that, not much. Appearing in an ad means simply that you have enough money to gain access to a certain club (Vogue, Forbes, etc.) to court customers.

Successful publicity, by contrast, means that the club has chosen you. This perceived third-party endorsement makes all the difference. It’s earned media. It’s nine out of ten “dentists” recommending your client’s product in an ad versus one beloved national TV host hanging on your client’s every word between the ads.

As different as the effects of these two approaches are, so too are the strategies that make each successful. To be eye-catching, even outrageous, to convey an emotion or capture a mood is often all an ad needs to succeed in energizing the consumer to rise, go forth and buy stuff. A media placement, on the other hand, must provide information of such intrinsic value that the consumer not only a) becomes aware of the brand but b) personally identifies with it and c) accepts it as quintessential.

It is media based on educated persuasion, not dollars.

For more information or to purchase “DON’T” visit dontnewyorkcity.com.

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Asking for Help

February 5th, 2010

All too often, young and tenured professionals alike make the mistake of NOT asking for help. Whether it’s the insecurity of not being current or understanding new material – not requesting help is a galactic rookie flaw.

The point of being successful in your job should be, well, self evident. I’ve seen too many marketing and PR “experts” wave their right to critical insights simply because that, in their elevated position, there’s a feeling they shouldn’t have to. That it’s better to position yourself as “in the know,” and wing it.  (People like this frequently end up in swank executive roles, only to have the rug swept from underneath them when faced with real challenges.)

Young professionals simply need to grow. Recently, I gave a young project manager at our office a significant task – slightly outside of her usual bailiwick. It was so refreshing to have her first digest the information, and then come back to me with a number of question on how to manage goals, expectations, and some direction on how to accomplish our objectives. My reaction wasn’t critical on her level of experience, but rather, praise for her honesty and willingness to do the job well.

In my experience of dealing with Fortune 100 execs and thoroughly talented business thinkers, it is clear to me why these individuals accomplish substantial goals. They have a genuine interest in the advancement of their pursuits and understand, amongst many other things, that asking for help is simply a means of achieving their ends. On the other hand, executives that feel “posturing” is more important than substance will (eventually) find their place among applicants and middle management.

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Cutting out the “flack”

January 19th, 2010

Reuters just released their “Handbook of Journalism” – rarely seen by the public but now available here. This brought up a few thoughts. The first is the acknowledgment that there is a push-pull relationship between the media and publicists, the health of which must be stewarded by both sides. The second, and perhaps more important, is that our industry is in need of discipline — much like the kind that Reuters insists of their journalists.

Our industry lobby, the Public Relations Society of America or PRSA, has done an admirable job in encouraging a greater sense of obligation and gravitas for publicity professions. But there are many, both young professionals and seasoned veterans, who fail to appreciate the importance of their jobs. They seek the glitzy trappings of our professionbut mistake our purpose for that, of a pure “sales” profession. Not that there’s anything wrong with sales; in fact, an important part of our job involves selling ourselves to journalists. But the prominence of a “sales” mentality often times limits the integrity of messaging.

Push and pull. The perception is that publicists push for things, and journalists pull back—rebuffed by the presence of an interlocutor. The negative reaction is sometimes based in ignorance about what publicists bring to the table. But other times, it stems from harmful experience they’ve had with publicists who don’t respect journalists or their boundaries. As publicists, we represent clients, professions and people seeking media approval. The least we can do is to be considerate and disciplined enough to learn what media professionals are looking for in their story. Using the Reuters code, and imitating the rigor good journalists demonstrate when reporting news, we should pay more attention to the importance of our field, and get closer to PR professionals and farther away from spin doctors.

We aid the news reporting process. Paying closer attention to how our ideas fit, and are received, into that process is paramount. Lead with content, relevance, and respect – I’m certain our friends at the 4th estate (the media) will be receptive to your call.

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